Bon Jovi Bends the Metal Image--A Tactic That Puts Him on Top

Jon Bon Jovi is the Donald Trump of rock, a master strategist with a pretty face who knows how to think big and win. There’s no talk about him running for President yet, but don’t underestimate this guy.

Instead of building skyscrapers and operating casinos, Bon Jovi (which is also the name of his band) sells albums--more than 8 million of them over the last 12 months in the United States alone.

That was enough to make Bon Jovi, the band, outpoint runners-up U2, Whitney Houston and Madonna in Billboard magazine’s annual review of its weekly album and singles sales charts.

But Jon Bon Jovi’s impact wasn’t measured only in his group’s own sales, but in the way he helped virtually turn the pop music business upside down.

Remember when heavy metal--with its aggressive, plunder ‘n’ rampage images and macho posturing--was exclusively a male world? Bon Jovi, the band, started out in New Jersey as part of that genre, opening for the likes of Judas Priest and the Scorpions.

The financial rewards are certainly high in heavy metal, but Bon Jovi, the strategist, soon realized that there was a limit on the number of teen males who were into hard-core metal--an audience of about 2 million. The key to really big sales was to soften the heavy metal image enough to appeal to more mainstream male teen fans and--crucially--girls.

The softer, sexier emphasis was visible in the group’s videos, physical appearance, stage shows and music. Bingo: Bon Jovi’s “Slippery When Wet” became a runaway best seller late last year, thanks, in great part, to melodic, pop-conscious songs like “Livin’ on a Prayer” and “You Give Love a Bad Name.”

This strategy didn’t just make stars of Bon Jovi, but opened a door of acceptance at Top 40 radio stations for other soft-core metal acts, including newcomers Cinderella (who toured with Bon Jovi) and veterans Whitesnake. At one point last June, five of the six best-selling albums in the country were by heavy metal groups.

There is valid debate among heavy metal purists about whether bands like Bon Jovi should be described as heavy metal at all, but there is no denying these bands’ sales.

And Bon Jovi, the man, doesn’t hide his ambitions.

In a Rolling Stone magazine interview last year, he said: “I’ll never be satisfied. I’m not happy that we have the (No. 1) album, single, CD, video, that I sold out every show . . . and that I can buy a huge mansion if I want to. Next year I plan to be better. I want a bigger record. I want to do more shows. I want to be able to buy two houses instead of one.”

Gee, maybe Bon Jovi would be interested in a penthouse at Trump Tower.

If it’s discouraging that a band as musically inconsequential as Bon Jovi can end up as the year’s pop chart sensation, there should be some comfort in the fact that a great band, U2, can generate enough sales to finish second. In the ranking, artists pick up points every week they are on the Billboard album or singles sales list and score bonus points the higher they go on the charts.

U2’s “The Joshua Tree” album has sold more than 4 million copies in this country, and two of its singles--”With or Without You” and “I Still Haven’t Found What I’m Looking For”--reached No. 1 during the year in Billboard magazine’s Hot 100.

In the rest of the Top 10, Whitney Houston (who finished first last year in the Billboard survey) and Madonna (first in 1985, second in 1986) were followed by a surprisingly diverse, if frequently bland, group of record makers: Whitesnake, Huey Lewis & the News, Janet Jackson, Bruce Hornsby & the Range, Genesis and the Beastie Boys. The second 10, in order: Europe, Steve Winwood, Paul Simon, Poison, Kenny G., Expose, Lisa Lisa & Cult Jam Featuring Full Force, Billy Idol, Heart, Anita Baker.

Where was Michael Jackson, whose “Bad” was one of the few albums ever to enter the Billboard charts at No. 1 and has already chalked up more than 4 million sales, according to Epic Records?

Jackson’s strong year-end success didn’t earn him a spot on Billboard’s top artist list because the magazine’s survey period runs from November to November. That means the success of year-end releases, like “Bad” and George Michael’s “Faith,” will be reflected in next year’s roundup.

It’s also important to note that Billboard’s year-end charts are merely an approximation of sales and they favor albums released early in the year. Still, they are widely read in the industry and give us an overview of the most successful music of 1987.

Here is Billboard’s list of the most popular albums of the year:

1. Bon Jovi’s “Slippery When Wet.”

2. Paul Simon’s “Graceland.”

3. Beastie Boys’ “Licensed to Ill.”

4. Bruce Hornsby & the Range’s “The Way It Is.”

5. Janet Jackson’s “Control.”

6. U2’s “The Joshua Tree.”

7. Huey Lewis & the News’ “Fore!”

8. Cinderella’s “Night Songs.”

9. Anita Baker’s “Rapture.”

10. Genesis’ “Invisible Touch.”

Here were the year’s most successful singles, according to Billboard:

1. The Bangles’ “Walk Like an Egyptian.”

2. Heart’s “Alone.”

3. Gregory Abbott’s “Shake You Down.”

4. Whitney Houston’s “I Wanna Dance With Somebody (Who Loves Me).”

5. Starship’s “Nothing’s Gonna Stop Us Now.”

6. Robbie Nevil’s “C’est La Vie.”

7. Whitesnake’s “Here I Go Again.”

8. Bruce Hornsby & the Range’s “The Way It Is.”

9. Bob Seger’s “Shakedown.”

10. Bon Jovi’s “Livin’ on a Prayer.”

Freddie Jackson’s “Just Like the First Time” was declared the leading album on the black music charts, followed by Luther Vandross’ “Give Me the Reason,” Anita Baker’s “Rapture,” Cameo’s “Word Up” and Janet Jackson’s “Control.”

The black music singles chart was topped by Vandross’ “Stop to Love,” followed by Atlantic Starr’s “Always,” Shirley Murdock’s “As We Lay,” Kool & the Gang’s “Victory” and Janet Jackson’s “Control.”

Randy Travis’ “Storms of Life” was followed on the country charts by George Strait’s “Ocean Front Property,” Restless Heart’s “Wheels,” Alabama’s “The Touch” and Dwight Yoakam’s “Guitars, Cadillacs, Etc., Etc.”

The leading country singles: Michael Johnson’s “Give Me Wings,” T.G. Shepard’s “Half Past Forever,” Reba McEntire’s “What Am I Gonna Do About You,” Nitty Gritty Dirt Band’s “Fishin’ in the Dark” and Michael Johnson’s “The Moon Is Still Over Her Shoulder.”

Among jazz albums, Dexter Gordon’s “The Other Side of Round Midnight” outscored Michael Brecker’s “Michael Brecker,” the “Round Midnight” sound track, Wynton Marsalis’ “J Mood,” and Branford Marsalis’ “Royal Garden Blues.”

The dance singles leaders: Debbie Gibson’s “Only in My Dreams,” Dead or Alive’s “Brand New Lover,” Company B’s “Fascinated,” Expose’s “Come Go With Me” and Sylvester’s “Someone Like You.”

LIVE ACTION: Rush will be at the Forum on Feb. 5 with Tommy Shaw. Tickets go on sale today. . . . Michael Tomlinson headlines the Universal Amphitheatre on Jan. 30. Tickets go on sale Sunday.